Skúli Sverrisson step on stage with an instrument in the hands, which in itself signals something completely different than the partner Bill Frisells melancholic musicianship rooted in the jazz and old americana. Frisell on his side have a Fender Telecaster, so be it with other microphones than the original; it is still the most rudimentary of guitar you can think of. Sverrissons six-string electric bass with particular, small body of some kind of hardwood is on the contrary typical of certain fusion, and other music, where ekvilibrism are valued significantly higher than the content and history.
It is no trivial matter, for the musician communicates also with the choice of instruments. Fortunately, Sverrisson not primarily seeking to show all of the daemon he is.
some of the music he has written for this duo. It is clearly shaped for Frisell, so that one can ask whether Sverrisson not thought to Frisell, in turn, would be moldable.
to hårdra it feels as if Sverrisson as well as searched to isolate the music, while Frisell himself usually starts from something else entirely. A time, a place, or maybe some folkloric tale. See, for example, his interpretations of the photographer Mike Disfarmers biographical from the rural areas of Arkansas during the 30's and 40's.
in Sverrissons compositions. It should also be said in his favor, that he previously has worked with artists such as Lou Reed and Laurie Andersson. And mind you: the music of the evening are long moments very nice, and yes, melodic.
What is missing is rather some kind of context. A major drama behind the drama in the here and now. It relates in a way to it there with the instruments. I imagine that Frisell also purely literally want to investigate something that was there long before him, while Sverrisson time playing with as little resistance as possible.
Read more music reviews by John Cornell, for example, about how Selma Pinton Quartet manages the heritage from the previous generations.